Since 2016, Eliza Douglas and Anne Imhof have collaborated to produce performances that are often characterized by a close coupling of art and music – a recent example being their performance “Sex,” which premiered at London’s Tate Modern in March 2019. However, painting has taken on growing significance in Douglas and Imhof’s joint practice. In many instances, the collaborative aspect itself is the source of form, as in their “signature paintings,” which they exhibited at Galerie Buchholz in New York in 2017: the superimposition of the two artists’ autographs, executed with an exaggerated panache that suggests the gratification in signing one’s work, speaks to the intermixture of rapprochement and divergence that defines their shared practice. The same act of synthesis is pivotal in the edition they created for “Texte zur Kunst”: each inkjet print is unique. The photographic motifs – scenes in which a performer dives off a stage into the audience – vary, as do the colorful sunset shots overlaid on them. Finally, Douglas and Imhof’s conjoined “signature,” painted on in felt-tippedpen, is different in each print. In a format that blends autograph card and band poster, the works confer iconic status on the pathos of being submerged in the crowd: who wouldn’t love to surf the outstretched hands of adoring fans?